Taping FAQ or How to tape live shows --------------------------------------------------------------------------- This page was originally written for the yahoo system, the number of hits has jumped tenfold. About 500 people checked out this page in december, and this counter says you're number [Image] to check this page out since the first of the year. * version: 0.1 -- 25 July 1995 * version: 1.5 -- 09 September 1995 * version: 3.0 -- 31 December 1995 --------------------------------------------------------------------------- Table of Contents --------------------------------------------------------------------------- A Basic Introduction --------------------------------------------------------------------------- Section I -- Taping Shows -------------------------------------- 1.1 -- What is meant by taping live shows? 1.2 -- Why do some artists allow the taping of their live shows? 1.3 -- Why do some artists not allow the taping of their live shows? 1.4 -- Why do some artists change their taping policy? 1.5 -- Why would the management care? 1.6 -- Why would the venue care? 1.7 -- Why would anyone have the desire to tape shows? How do you know you can? 1.8 -- Is it really that hard? --------------------------------------------------------------------------- Section II -- Some differences in taping equipment, ways to tape, etc... -------------------------------------- 2.1 -- What is an analogue recording? 2.2 -- What is a digital recording? 2.3 -- What are the sound differences between analogue and digital recordings? 2.4 -- How much do analogue recordings deteriorate, as further generations are made? 2.5 -- How much do digital recordings deteriorate, as further generations are made? 2.6 -- What is soundboard recording? 2.7 -- What is a soundboard feed, or a patch? 2.8 -- What is audience taping? 2.9 -- What are some of the differences between the two? 2.10 -- What kind of recording equipment (deck) would I need? 2.11 -- What are the choices in decks? 2.11.1 -- What are the advantages and disadvantages of an analogue deck? 2.11.2 -- What are the advantages and disadvantages of a DAT recorder? 2.11.3 -- With DATs, what is SCMS, and is it something of importance? 2.11.4 -- What are the advantages and disadvantages of a DCC recorder? 2.11.5 -- What are the advantages and disadvantages of a MD recorder? 2.11.6 -- What are the rules on video taping? What is a PCM deck? 2.11.7 -- Can I record onto CDs? 2.11.8 -- Should I invest in an expensive deck? 2.12 -- Do the kind of tapes i use make a difference? --------------------------------------------------------------------------- Section III -- Can I tape live shows? -------------------------------------- 3.1 -- What knowledge do I need to do this? 3.2 -- How does the equipment you are working with change what you need to do? 3.3 -- How does the venue affect the process of taping? 3.4 -- How does the performing artist affect the process of taping? 3.5 -- How does the show itself affect the taping process? 3.6 -- Is there an organization (other than the record companies) who cares whether or not I tape? --------------------------------------------------------------------------- Section IV -- Where do I begin. -------------------------------------- 4.2 -- So, where do I begin? 4.3 -- What (other than a recording deck) do you need in general? 4.4 -- What else would you need for soundboard recordings? 4.4.1 -- What are all the differences in the cables? 4.5 -- Once you have established what equipment you need, how do you hook up to the SBD? 4.5.1 -- What's the easiest way to hook up? 4.5.2 -- If there are RCA, XLR, and 1/4 inch outputs (hypothetically), which one should i use? 4.5.3 -- Why would I want to hook up out of someone's tapedeck? 4.5.4 -- Will hooking up to someone else's tapedeck hinder the quality of my recording? 4.5.5 -- How can I tell if one recorder has a better input range than another? 4.5.6 -- Is there a way to avoid having to hook up to someone else's deck? 4.5.7 -- What would I need 1/4 inch jacks for? 4.5.8 -- What would I need a XLR>RCA adapter for? 4.5.9 -- What if I am taping with DAT and someone else is also taping on DAT? 4.5.10 -- Am I limited to the choices above? 4.6 -- What different equipment would I need for an audience recording? 4.6.1 -- How do I know what kind of mics to use? 4.6.2 -- What are the different types of microphones on the market? 4.6.3 -- When is it considered best to make audience recordings? --------------------------------------------------------------------------- Some author credits --------------------------------------------------------- Introduction -------------------------------------- The intent here is to create some sort of taping FAQ file -- it is set up like a FAQ file. the truth is that the intent it to help people that dont know anything about taping live shows.....making it easier for those people to start, and at the same time........allowing people who are experienced tapers to see some new ideas that may help them. also, there are some tips about use of certian equipment and taping procedures that may make your life easier/. There are files out there, which give very in depth instructions on how to begin a promising hobby of taping live shows. This is not necessarily one of those files..... per se........ ...or maybe it is.. I don't know yet..............I just started it.... .and some of this file will be opinionated and some wont be. please feel free to send any thoughts you might have, to me: KOLIVER1@UA1VM.UA.EDU I have given credit to the people who helped me out, usually in the place they helped me....If there is a notation at the end of a paragraph that looks like this:[ kwo ] then it means I wrote the preceding paragraph (although you won't see it for my paragraphs -- just the ones written by other people). That is borrowed from the DAT heads' FAQ file. all of the references in the bracket thingies [. ],......will be listed in some kind of order at the end of this file.......... and thanks to ben tanen, who had a normal conversation about taping with me, and tied up a lot of loose ends as far as some things go............. Also note: This file is written specifically for the AWARE net, and will concentrate on AWARE bands. You can access my file on the aware bands' taping policies, which appears on the aware homepage, located on the Rockweb Interactive server. the URL for the aware page, is: ........ you can also veiw another file I have, which details the policies of more bands, although, it is not as detailed as the aware file. either file can be seen on my extremely boring and unmaintained homepage: ..... if you have no world wide web access, then you really oughta get it, but in the mean time, you can request these files from me, by writing a short email message to me ............... I have found that most of the aware bands allow their live shows to be taped using the soundboard (usually with any desired equipment), and therefore, this file will concentrate on that. --------------------------------------------------------------------------- Section I -- Taping live shows -------------------------------------- 1.1 -- What is meant by taping live shows? This is exactly as it sounds. Not necessarily illegal (as some people think......although, I suppose it sometimes is), taping shows means the recording of live shows. Let me first point out the distinction between bootlegging and taping shows. Bootlegging refers to the practice of illegally recording concerts, or taking legally recorded concerts and illegally distributing them. This entails recording a band which does not allow taping, or recording someone who allows taping, but the venue does not allow recording equipment inside (a trend among the festivals). Taping on the other hand would be considered the practice of recording a show with the permission of the artist and/or the artist's management and with permission of the powers that be at the venue. Also, for those interested in net etiquette, it is wholly considered to be wrong to refer to shows which were taped with the permission of all factoring parties as bootlegs, as a "bootleg" has come to connote an illegally acquired thing. ------ 1.2 -- Why do some artists allow their performances to be taped? Artists allow fans to tape shows for a variety of reasons.......the most common of which is that they don't care what the fans do, as long as no profit is made (which the artist doesn't receive) off the recording. Artists that allow taping typically appreciate the exposure they get from fans trading the tapes. Most of the bands that I have taped at least know what goes on over the internet, with their music. They like the free exposure, and fans benefit too, because a tape of music only costs the price of the tape (and a little postage), which is much cheaper than the studio recorded music costs. A friend of mine goes on to explain: Contrary to popular belief, my opinion is that you're not cannibalizing with your pre-recorded music sales. The people who collect Grateful Dead tapes typically have all the available CDs or records done by the band. My friends who collect Phish and Blues Traveler tapes are among the most ardent fans and typically would not willingly hurt the bands. They ALSO collect tapes as a way to capture that spirit of a great live show, and as a social thing (among other reasons). You'll see these fans at many shows and you'll hear them "talking-up" the band over drinks. .. ...Bands who allow taping are smart ... they create a sense of community between themselves and their fans. They allow the fans to be a part of their "scene". More than allow, they invite the fans in and say you're welcome to be a part of our music. Money is important, but music is a living thing. Legal tapers and bands who allow taping nourish that music, they encourage the music to grow. [ at ] ------ 1.3 -- So, why do some artists not allow taping of their shows? Again, many reasons, but a common one is that some artists are afraid that their work will become subject to CD bootlegs (which are illegally made and distributed) where the music is being sold for lots of money, none of which ever goes back to the artist. These CD bootlegs range in price from $35 to $75, which is all money made on the artist's work, but which the artist sees none of. Many artists reserve their right to control their art to ensure this doesn't happen. ------ 1.4 -- Why do some bands allow taping, then change their policy? Sometimes an artist will simply become too popular, and taping off the soundboard will become more of a hassle than it s worth. Actually, it is rare that a band who previously allowed taping, will change, to not allow any form of taping anymore -- but commonly, the band or record company will find it in their favour to not allow soundboard taping, due to an increased number of people standing around the soundboard and bothering the soundman.----------See the next paragraph for an example. ------ 1.5 -- Why do the management companies care about taping? The management companies care primarily because it is within their duties to care, since it directly affects the artist's music and the money made therefrom, as well as the happiness of those connected with the creative talents of the artists. Below are excerpt paragraphs from three personal letters to me from 3 band management people. All parenthetical information residing within quotes was added by myself. * "When I stated that (taping) was decided by (the soundman) or the venue, I meant that if (the soundman) doesn't feel that the soundboard is capable of giving a good clear tape, he probably won't allow it. Secondly, in some clubs, taping only creates problems for him while he is running sound. If the deck is patched through a channel that he might need, it will create a problem for him. If the deck is placed in an area that he might have to get to, it might create a problem. I've talked to (the soundman) about the policy, and he has stated that as long as it is easily done some time during soundcheck, it is no problem. ... If the sound company does not want their system to be used in taping, there is nothing that we can do to change his mind. An example of another problem is when we play in support slots......... in situations where we are not headlining, taping is also not going to be possible (given the policy of the headlining act)." -- [ he ] (Management company for The Edwin McCain Band). * "As long as you aren't making money off (taping the show), then we don't care". -- [ men ] The MindsEye Network, Atlanta, GA. ------ 1.6 -- Why do venues care? Well sometimes they have invested a lot of money in their sound equipment and they don't want to jeopardize the condition of their equipment, but sometimes its not a matter of whether they care or not, because some soundboards are not set up with enough extra jacks. Usually a smaller venue will not have a strong opinion about taping unless one of the bands playing (even if its not the headlining act) does. Some of the larger venues, however, have sound companies why frown upon soundboard taping, for reasons pointed out previously. --------------------------------------------------------------------------- 1.7 -- Why would people want to pursue the pastime of taping shows? Well, I can only answer this personally, although, my feelings probably aren't that out of the ordinary. I like to tape people when they come into town because I like the music. That's it. Some people say that taping the shows is a big pain in the ass, and more trouble than it's worth. If that's the case for you, then perhaps you shouldn't be doing it, but to me, having the live music to listen to is well worth the effort despite all the CDs that are also in my collection. I just like having the live music around. ------ 1.8 -- Is taping really as hard as it looks/sounds? Despite the the length of this document, there isn't all that much that goes into taping that anyone cannot understand. However, there is a lot that goes into it. whatever that means....... --------- Section II -- Different ways to tape shows. -------------------------------------- 2.1 -- What is an analogue recording? Analogue, as opposed to a digital recording, has come to mean a recording which is made on a magnetic tape with a typical audio cassette recording deck. The cassettes (compact cassettes) were started by the Phillips company (who also did those screwdrivers with the pluses on them). There is a magnetic medium inside the cases on which sound waveforms are electrically recorded. The waves that are recorded are said to be analogous to the actual sound waves being recorded, thus the term analogue (analog). ------ 2.2 -- What is a digital recording? A digital recording is made by a recorder (DAT, for example) which takes the sound waveforms and samples them to create an image of the soundwave on the digital tape, in the form of a binary code. Compact Discs are also digitally recorded. ------ 2.3 -- What are the sound differences between the two? Short answer: Anytime an analogue device records onto or plays back from a tape, a hiss and wow and flutter are inevitably introduced. A digital device is hiss-free and has negligible wow and flutter. Long answer: The real reason that live tapers and traders have switched to digital recording (more importantly DAT) is that the problems with typical analogue recording devices is not at the recording site itself, but two years down the line when a show has gone through six or eight generations. Digital duplication -- called cloning -- involves making an identical copy of the digital information stored (sometimes) on DAT. An analogue dub requires playing and recording a cassette tape -- two processes that introduce distortions and noise. [ bt ] ------ 2.4 -- How much do analogue recordings deteriorate, as further generations are made? Since an analogue recording is a mirror of the soundwaves, the soundwaves begin to alter after being copied so many times. How much so, relies on the connection, the tape, the equipment, etc. (i.e.: if you use a walkman and high bias tapes, the recording won't sound as good initially, and will deteriorate faster, than if you use a professional deck with metal tapes). ------ 2.5 -- How much do digital recordings deteriorate, as further generations are made? A DAT recording really doesnUt deteriorate unless there are errors in the tape itself (as a result of dirty heads and so on) assuming we are talking about cloning and not simple dubbing.. Note that a DAT and CD are straight copies (taking up more space but recording the digital numerical code exact). Virtually all other forms of digital recorders tape the music with some sort of compression (4:1 for MiniDisc) The compression-expansion-compression routine affects the music because at 4:1, the player is dropping 75% of the signal. Granted, this 75% is not something you can hear or would notice, but 9 generations down the line, it will greatly affect the sound. The deterioration isn't that bad, (better than analogue, which introduces hiss at every generation, but its not as good as cloning. Cloning is the process of making an exact copy of something (which, in essence will only be done if you are taping DAT to DAT (no compression ever) with digital cables (so the signal doesnt pass through analogue connector cables). Also, as Ben Tanen pointed out, the sampling rate is essential too. ------ 2.6 -- What is "soundboard taping"? Soundboard taping involves plugging a recording deck into the output jacks of the soundboard. Everywhere possible, at least in this version of this file, there will probably be a slight concentration on soundboard taping........ partially because most of the AWARE bands promote soundboard taping, and partially because of the comparative ease to get a good quality recording. ------ 2.7 -- What is a soundboard feed, or patch? If you are allowed to have a soundboard feed, or to patch into the soundboard, then you are simply given the permission to plug your jacks into the soundboard output jacks. Sometimes, the female jacks are also called a patch bay, or a recording feed, or some variation thereof. ------ 2.8 -- What is "audience taping"? Audience taping involves taping from equipment not connected to the soundboard, setting up microphones and making a recording from apparatus in which the necessary equipment is all self-contained (either hooked up to mics or with a built in mic or attached to such equipment). Unless you are quite knowledgeable, and/or have very high quality equipment, audience recordings are more difficult to perfect. ------ 2.9 -- What's the sound difference in a soundboard and an audience recording? The physicality of the two is described above, but sound wise, there are also many differences (most of which are solely due to the physical setup). A soundboard (SBD) recording will be crisper because your equipment is hooked up to the sound system at the venue. With a SBD, the music is being recorded onto your tape via the sound equipment in the venue (the stage microphones, the soundboard, etc.). With an audience recording, on the other hand, the sound on the tape is recorded via the air. Anything that goes on within the venue that the mics pick up is susceptible to being recorded, including bottles clanking and people yelling. Some people, however, are experienced enough to make a recording that is mostly devoid of these little problems. ------ 2.10 -- What kind of deck would I need? Technically, anything with a functional record button would work (and input jacks, for a SBD), but there are better decks to use than others. It all depends on your goals (whether you just want music for yourself, or whether or not you want to be an avid trader). ------ 2.10 -- What are the choices in decks? See below ---- 2.11.1 -- What are the advantages and disadvantages of an analogue deck? For most people, one of the advantages is that they are very common, which hinges on another advantage, in that some of the reasonable quality decks are cheap. One major disadvantage: The recording medium is magnetic analogue, and thus the quality of the tape doesn't start out as good, and deteriorates every generation it is dubbed. Analogue compact cassettes were invented by the Phillips company. The price vs. quality issue usually cancels out for many beginning tapers, because they already have an analogue deck, and it is always better to get a feel for taping before investing large amounts of money into another kind of deck. While your walkman will even work, a high end two head deck or a 3 head deck is more standard...especially if you are relatively serious about the quality of the tapes you make. Analogue decks range in price from $89 to $1000, but most common fans would have a deck somewhere in the middle. Analogue decks also can come with all sorts of bells and whistles, but some of these features are more important than others. Three head decks are considered to be better quality, and if you care about Dolby then many come with Dolby B, C, S, and some have HX Pro. Cassettes are easily the most common medium of recording, and cheaper than any other medium ------ 2.11.2 -- What are the advantages and disadvantages of a Digital Audio Tape (DAT) recorder? DATs were put on the market to offer consumers a form of digital recording (since compact discs donUt really allow for that now). DAT recorders are of a better quality, but more expensive than analogue. That pretty much sums up the basic difference. One more slight disadvantage of DAT recorders are that some bands (although not too many) will not allow DAT recordings because of the same reasons that others will not allow SBD recordings. DAT players range from about $600 to $30,000 and the tapes are also more expensive. More technologically, the reason a DAT will be of more superior quality is because there is no music being transmitted to deteriorate. A DAT, with each recorder's sampling rate, will transform the live music (analogue signal) into a digital binary, and record that on the DAT tape. The binary code for the music will not deteriorate over time, and thus there are looked at by some tapers as the best means for taping and preserving the live shows. The above are some of the advantages that digital has over analogue, but there are also advantages that DAT has over other forms of digital recording.....the primary one being that the sampling rate is higher for most DAT players. Another thing is that if you want to collect quality tapes, you would want a DAT player for sure, because it is the medium that best preserves the sound, and the only one that allows actual cloning, where the sound signal remains digital, and never gets compressed. The cloning transfer process is important to some people: "you can transfer a full digitalization of the music from one DAT to another. Transfer is really what trading is all about. And that is why DAT is the best for this application." [ bt ] ------ 2.11.3 -- With DATs, what is SCMS, and is it something of importance to consider when buying a deck? The Serial Code Management System was created to prevent people from making digital copies of music. If you are copying from digital to analogue then you need not worry about the SCMS, as only the music is being recorded. If you record from DAT to DAT, however, the SCMS which is embedded in code form into the binary of the music will interfere with the copy, making further digital generations impossible. There are three industry standard levels of SCMS: 00 (no restrictions), 11 (allow one copy), and 10 (no copies allowed). Some decks can erase SCMS, and others (a lot of professional decks) simply ignore the code. There are also SCMS filtres you can buy for your deck. It is something you may want to pay attention to if you plan to be able to make D>D copies. SCMS don't necessarily disallow one to make copies of their own DAT, but rather, disallows the recipient of that copy to make any further copies from their DAT. ------ 2.11.4 -- What are the advantages and disadvantages of a Digital Compact Cassette (DCC) recorder? First off, let me explain what a DCC is.....it is a digital form of an analogue cassette (it looks just like the analogue compact cassette). The DCC player is set up to be able to play analogue and digital cassettes, but you cannot play/record a digital cassette on a analogue cassette deck. One disadvantage is that these are relatively expensive because of their experimental nature (they just hit the market about two years ago). If you are thinking of a future investment, however, you may want to look into these, because if you have been recording onto analogue cassettes for some period of time, then you will still be able to use them on a DCC player, whereas if you get a DAT player, you would have to transfer all your cassettes to DATs. One thing to think about, however, is that DCCs use a Precision Adaptive Sub-band Coding system (PASC) which disallows the actual duplication of the music; unlike a DAT recording, it compresses it. This means that like ordinary analogue cassettes, DCCs may endure generational wear. The uncompressed signal may vary from the original signal due in part to the psychoacoustic principles used to discard unlistenable parts of the music. Whether this is distinguishable to the naked ear is wholly undetermined (even under testing). Despite the data reduction (5:1) (which will be noticable several generations down the line), DCCs are thought to be advantageous in other ways, such as I mentioned above. I am unsure of the price range of the players and the digital cassettes, but I do know that they are not preferred among live tapers as of yet. ------ 2.11.5 -- What are the advantages and disadvantages of a MiniDisc (MD) recorder? MD players are still fairly rare, and many artists haven't developed a policy on MD recordings. Chances are that if you are considering a MD as an option, then you really don't need an explanation as to the functionality of them..............so I'll spare you.......the discs look like 3.5 computer diskettes, only smaller. ------ 2.11.6 -- What are the rules about video taping? Many bands will not allow video taping at all. If you are considering making a video tape, then you will need to consult the band/venue way before hand, since I will not mention video recording anywhere else in this file. One thing about them is that if you make a video recording, then you also have the audio recording, although it will be an AUD recording. VHS AUD recordings are thought to be of comparable quality to analogue AUD recordings. I have known people to take a CamCorder to a show, in the interest of only taping the audio, because they thought the VHS would be better than an analogue cassette -- but some bands won't even let video recorders into the venue because of their video taping policy. The truth is, that to avoid buying big mics, or making a bad quality recording with a device that has a built in mic, a video recorder is probably the easiest way to make a semi-decent audience recording. Unfortunately many people are still worried about the video part. There is one form of video taping that you may be able to get away with. The PCM decks (which, I believe have been discontinued) offer a digital form of recording, using a video cassette to record on (usually Beta). Pulse Code Modulation (PCM) is the process that all digital recordings use to transform analogue signals to digital codes, but early on, the dynamic range was best utilized on a video cassette, therefore the existence of the PCM deck. If you have no PCM, but still want to try video recording, you would want to use a VHS HiFi or a Beta HiFi, because these modes are much more sound than the regular linear audio signal found on normal VHS or Beta formats. There is also another machine on the market which records digital signals onto SVHS tape. This is not compatible with any other deck than the Alesis DAT (ADAT) deck, which runs about five thousand dollars (and has no video input at all). If you have one of these, then a BRC control unit adds to the functionality of the ADAT by supplying MIDI capabilities, along with other options. 2.11.7 -- Can I tape onto CDs? Chances are that an artist's DAT taping policy would be the same as their CD taping policy, even though there probably no official CD taping policy. Besides that, CD recorders are not exactly available as a consumer product as of yet (well there are a few out there, but they are extremely expensive -- the Denon 7700R runs around fifteen thousand dollars). At some point it is possible that CD recorders will become more common, but until then, many artist's probably havenUt even given recordable CDs a thought. ------ 2.11.8 -- Should I invest in an expensive deck? That all depends on your goals as a taper. I would not invest in another expensive analogue deck, although some people do, because of the compatibility. Most people who are just starting out taping, or are serious about making high quality AUD recordings, invest in a DAT recorder -- or even better -- two DAT decks and digital cables (so you can clone and not just dub). If you are interested in making high quality AUD recordings, you almost have to spend a lot of money, to also get high quality mics. I have heard tapes made from an $85 deck, and others made with nearly $45,000 worth of mics/deck/cables and such. It would also depend on whether or not your goal is to expand your collection by being a trader as well, or if you are just wishing to be a taper for your own pleasure. ------ 2.12 -- Do the kind of tapes I use make a difference? Well, for digital tapes, the different kind of tapes matter less than they do for analogue recordings. The following applies only for analogue tapes: I would say that it is obvious that the tapes matter to an extent. I worked for a short time making tapes, and I know what different tapes get classified as, according to the substance of their coat and the flawlessness of that coat, and the plastic shell which contains the tape. The choices: ---- Type I (normal bias) -- never ever use these tapes for recording live shows, or taping for other people. I often use the analogy of a chalk board when explaining the horrendous quality of normal bias tapes. If you take a piece of chalk and draw with it on its side, then you get a broad line, as you know. The broad chalk line is the equivalent to the recording of the waveforms on an analogue cassette. If you take an icepick, and gash one inch holes out of the blackboard, then it will decrease the clarity of the chalk line. The more you gash the board to oblivion, the closer the analogy gets to the physicality of the construction of a normal bias tape. Normal bias tapes are full of flaws, both on the magnetic coated surface, and the mylar coat that covers the initial coat. A normal bias tape will create such a hiss and deteriorate so fast, that is almost a disservice to use them when someone is so nice as to let you record their music for free. Type II (high bias, chrome) -- High Bias tapes have come to be the accepted medium for trading, and for many people, for taping live shows. Their are infinitely superior in quality to normal bias tapes, and are extremely popular due to their affordability and availability. I tend to use metal tapes, so I asked a friend why he uses high bias tapes: Simple, everyone else does. I don't use metal because I know it can be a pain to copy/play on non-metal systems.[ cb ] What he said is true, but since I have a metal system, I usually don't think about it that way. Type III (extra high bias, ferric chrome) -- No sense in worrying about these because they quit making them about fifteen years ago. Type IV (metal bias) -- Again, this is my choice for taping because I find the clarity to be a touch superior, even though they aren't much better than high bias. They are harder to find and more expensive. Plus, whereas high bias tapes are virtually the same, and tend to only differ in what kind of plastic case they have, the difference between a Maxell MX (TDK's MA) and a MX-S (TDK's MA-X) is very extreme. A MA/MX isn't worth the extra money, over a Maxell XL II or XL II-S (TDK's SA/SA-X), whereas, the MX-S (or TDK's MA-X) are near the top of the line in terms of analogue tapes. --------- Section III -- How to start taping. -------------------------------------- 3.1 -- What kind of knowledge do I need to do this? Getting the basic knowledge is what I imagine to be the hardest part. Once you know how to hook up your deck, then you can experiment and teach yourself more. Until then, however, I suggest reading this file in full and/or asking experienced tapers for advice. The sound technicians are bad choices to teach you things because they have enough other stuff to do, and it is extremely hard to teach yourself with a knowledge base of zero. But generally, if you can hook up a home stereo system with more than three components (and make it work), then you have at least enough knowledge to start (even though you'll probably see some benefits of reading this and asking advice of friends. ------ 3.2 -- How does the equipment you are working with change what you need to do? For example, if you go to record Rusted Root, there is no way you'll get a DAT recorder into the venue, because the bend doesn't allow it. If you don't have a taper's ticket, then you can't tape Phish or the Dead, and if you go to tape the Verve Pipe or the Dave Matthews Band, then you'll need mics, because they do not allow SBD feeds. Etc. ------ 3.3 -- How does the venue affect the process of taping? Like above, its mostly just a matter of asking to find out what you need to do. If you go to Smith's Olde Bar in Atlanta, then take mics because the owner is very protective of his soundboard. If you go to the Louisiana Superdome, then don't expect anything because sometimes the venue staff will be hired by someone other than the venue or the band, and may not have a clue what's going on. Actually, don't expect anything isn't quite accurate.......but do make arrangements well in advance. ------ 3.4 -- How does the performing artist affect the process of taping? The band really won't do much to help you, aside from making the venue aware of their taping policy. On moderate occasion, the a band or their management will give you backstage passes or put you on the guestlist, as a nice gesture to you for your taping efforts, but obviously you wouldn't want to expect anything like this. ------ 3.5 -- How does the show itself affect the taping process? This matters more in terms of how the tape will come out, and not whether or not you can record. As you will see, one of the most important things to do during taping, is to watch your recording levels. Both a venue and an artist can vastly affect these. I have two examples of this: One, I have found that recording Shannon Worrell is more difficult, because of her intense vocal fluctuation....quiet/loud/quiet...style. The levels fluctuate, and therefore, you wind up with very quiet parts for most of the tape, but an occasional distorted note, due to Shannon's loud voice. Example two is about the place. (Whether you know this or not, you'll have to take my word for it.......it's a good example): The Ivory Tusk, here in Tuscaloosa, AL is an extremely hard place to record at, partially because of the sound system, and partially because of the room. Unfortunately, virtually all bands that come here play at the Tusk (which has given me the chance to adapt to the acoustics), but a beginning taper's first foray into to the Tusk would certainly result in an odd sounding tape. Some things are out of your control. I won't mention names/places, but I had an inept soundguy once totally butcher a recording because he didn't know how to work the board. ------ 3.6 -- Is there an organization (other than the record companies) that care whether or not I tape? The record companies are often against fans recording shows (although they are increasingly getting more lenient) so there is an organization set up to protect the rights of tapers. The Home Recording Rights Coalition, out of Washington D.C., is a group of buyers, sellers and makers of audio equipment which maintains that the non-profit hobby of recording is within the realm of consumers' rights. They have gone so far as to thwart several congressional/governmental efforts to place royalty taxes on recorded music which is used for the entertainment of the consumers themselves. If you would like to learn more about this organization and itUs goings-on, then write or call and request their newsletter. The Home Recording Rights Coalition (HRRC) 1145 19th. Street NW PO Box: 33576 Washington D.C. 20033 1.800.282.8273 (1.800.282.TAPE) There are also more technical groups, organized to set/modify industry standards about the functionality of audio taping equipment. The Audio Engineering Society, The European Broadcasting Society, and the Society for Motion Picture and Television Engineers are probably the three main ones. A copy of the current industry recording standards (the one ratified in 92 or 93) can be obtained from the AES; this is the address: Audio Engineering Society (AES) 60 East 42ND Street New York, New York 10165 1.212.661.2355 Note, however, that consumer standards vary, and would be more easily obtained from a manufacturer of consumer products (Sony/Phillips, for instance). --------- Section IV -- Where do I begin? -------------------------------------- To alleviate some potential confusion and/or vagueness, one important question is: 4.1 -- If I follow all the suggestions presented here to a T, will it automatically yield a high quality master for me? No, not at all. It will help infinitely, but following all the suggestions won't guarantee anything at all. There are too many things to take into consideration. However, I will almost guarantee that this file will get you to the point where if anything does happen, it will probably be out of your control. ------ 4.2 -- So, where do I begin? You need to begin with the knowledge, and then ask the right people what kind of taping is allowed (I covered that earlier in sectionxxx). The next step, would be to take your deck (whatever kind that may be) and go set up at the venue. I would suggest doing this early, just in case any problem arise, and also so that you are not rushed. ------ 4.3 -- What (other than a recording deck) do I need in general? What you need is relative to the way in which you do things (considering you only really need tapes and a few other things) but there are things that you can take, that will help you out. And again, keep in mind, that i am going under the assumption that if you are recording with DAT, then you know most of this already. Some suggestions: ---- o Blanks and extra blanks -- blanks are obvious, but you might want extra blanks just in case you need to give one to someone, or if you want to tape the soundcheck, or just if the show goes longer than expected. o a multi plug power strip/extension cord thing -- sometimes (especially with soundboard recordings) their will not be enough outlets to give your deck power. A power strip is a very smart idea, since there are a lot of electrical things there, but an extension cord also may be a good idea, just in case the best place for you to set your deck is too far from the outlets. o a flashlight -- flashlights are good for two things: one is plugging your stuff into the right places. Many bars remain dark, and it's just nice to be able to see. The other reason (for analogue and DCC tapers) would be so that you can see how much tape is remaining, before you'll have to flip the cassette. o stopwatch -- I've seen some people with watches, to time the sides of the cassette. I have never used one, but some find them helpful. You'll probably still want a flashlight, because different tape companies often have different amounts of extra tape on tapes. o pen/paper -- just in case you want to write down the setlist or whatever. o some cloth thing -- in case you have to set you deck on something scratchable. Also, if someone sets their deck on yours, you may want something to go in-between, because some decks have scratchy feet. ------ 4.4 -- What else would I need for soundboard recordings? The connector cables would be the most important thing. ------ 4.4.1 -- What are the differences in all the different cables? ---- + RCA jacks - this is what virtually all analogue tape decks have if you have a stereo,then look behind it, and you probably see RCA jacks somewhere. soundboards are sometimes equipped with RCA jacks, but not always. (sometimes you could get lucky and have someone else tape the show, thus opening the possibility of hooking your tape deck to someone else's tape deck, which would only require RCA jacks anyway)............but you may need adapter jacks. + quarter inch (1/4") jacks - these are what stereophone jacks look like. you may have a headphone jack on your tape deck or amp., that's what they are...........not the small headphone jacks, but the 1/4" inch stereophone jacks.......if the output on the soundboard has these, then you'll need adapters if you have RCA inputs on your deck. the good news is that if the output on the soundboard accommodates these, then chances are, there will be some that the soundman has for you to use, but again, check early in the event that's not the case. + XLR jacks - these are the ones with three male prongs ,,,,,,they are less common than the other two choices, but there are places that have only XLR outputs on the board. be prepared for this. Also (and I don't really know how common this is), but Flamingo's in Knoxville and the Exit/In in Nashville are the only two places I know of that have only XLR outputs, and no other ones. The last time I taped at Flamingo's, the soundguy for TR3 had XLR>RCA adapters for his deck, and I just plugged into his. I have heard of people getting stuck without XLR adapters, when also, the soundguy didn't have any either. ------ 4.5 -- Once you have established what equipment you need, what different ways can you hook up to the board? See below. ------ 4.5.1 -- What is the easiest way to hook up? Straight hook up out of the soundboard -- this is the easiest thing you could possibly do.....plug your jacks into the output jacks on the board. a majority of the times, you won't be able to do this for one reason or another, but if the option is there then I'd take it. ------ 4.5.2 -- If there are RCA, XLR, and 1/4 inch outputs (hypothetically), which one should I use? Personally, I'd use the XLRs first, then RCAs then 1/4 inch, in that order of preference. ------ 4.5.3 -- Why would I want to hook up out of someone's tapedeck? Sometimes you have no choice. That would be the case if there was only one output jack on the board, and say.....they soundguy wanted to tape it. He/she would most likely plug into the board, and you into them. This could also occur if more than one person is taping the show. ------ 4.5.4 -- Will hooking up to someone else's tapedeck hinder the quality of my recording? The signal will go straight from the soundboard to your deck, via the other deck as long as the other deck is recording, or has it's record button depressed. The thing is.....if you're hooked into someone else's deck, then make sure, not only that you watch your tape, but theirs too, because if they run out of tape and lose the signal, then you will also lose your signal. The quality however, is not sacrificed except for one time. If an analogue is hooked up to the soundboard, and a professional DAT player is hooked up to the analogue, then the DAT recorder will not be getting the signal it should. This is because the range of input is broader on a professional DAT recorder, and the signal it would be getting is the exact same signal the analogue is getting. However, if you reverse them, then the DAT will be getting the full range, and the analogue will be able to adapt for its own range. ------ 4.5.5 -- How can I tell if one recorder has a better input range than another? A good rule of thumb is that a better deck (digital, more expensive, etc.) will also have a broader range. The number of bits used to determine the binary value of each signal will determine the dynamic range. DAT recorders which use 16 bit sampling, tend to have a dynamic range of 85-95dB, whereas, analogue cassettes are able to record with a dynamic range of 65-70dB. I have, on occasion, had a portable DAT plug into my analogue deck, because mine was a better quality deck, and supported a wider dynamic range than did the DAT, albeit analogue. ------ 4.5.6 -- Is there a way to avoid having to hook up to someone else's deck? Well, if there are only two people taping, then yes. You can get a double Y RCA splitter, so that the feed coming out of the board is being split in two, and going to two different decks. ------ 4.5.7 -- What would I need 1/4 inch jacks for? You could come out of 1/4 inch outputs on the soundboard, if there are any. I have seen a few boards with no output, except for the headphone jack. you can get a 1/4 inch Y jack, then a 1/4 inch>RCA adapter, and run from the headphone jack to your deck's input. Note: if you do this, you also have to set the headphone jack's outgoing levels, then set your deck's levels accordingly. ------ 4.5.8 -- What would I need a XLR>RCA adapter for? the only reason you should have to use one of these is if the soundboard only has XLR jacks, and no one else is there to record the show. if someone is there, then plug into their deck. ------ 4.5.9 -- What if I am taping with DAT and someone else is also taping on DAT? If that happens often, then I would suggest you invest in digital cables to hook the two decks together. ------ 4.5.10 -- Am I limited to the choices above? Not be any means. I have found them all to be some of the most common choices, but experimenting is part of the fun of it. I have used all kinds of different set ups just to see if they worked any better. I've run the cables through a MIDI processing device, used different features on other people's DAT players to enhance the sound of my analogue recordings, used all the different kinds of jacks and adapters to see if there is a clear difference to me, and on and on and on. ------ 4.6 -- What different equipment would I need for an audience recording? The primary thing that youUd need for an audience recording that you don't need for soundboard recordings is microphones and a battery pack. ------ 4.6.1 -- How do I know what kind of mics to use? It has been said somewhere (and I apologize that I don't remember where) that the kind of mics you have/want highly depend on your budget. Many mics are good for making audience recordings, although some are inherently better than others. They can range from $100 to thousands of dollars, and the different sounds are often only distinguishable to audiophiles, and only important to very serious tape collectors. Another thing to take into consideration for mics is whether or not you'll have to tape discreetly, or if you are allowed to set up mic. stands in the venue (yet another argument for checking early in the evening). Another thing you'll want to take into consideration is where you'll be taping from. Phish recorders tape from a designated area for those with taper's tickets, but a taper of a smaller band (The Verve Pipe or Widespread Panic, for instance) may be able to set up FOB (forward of board), hence utilizing a different type of acoustics altogether. As this file is intended to concentrate on soundboard taping, I will stretch my limited knowledge of mics in an attempt to cover the area as fully as possible (this is an open invitation for someone to come along and add to this section). ------ 4.6.2 -- What are the different types of microphones on the market? In terms of response patterns: If you are taping near the music source (like, if, for some reason, you are interested in setting up close to the PA or directly in front of the stage), you would want to use Cardiod mics, which have a very sensitive pickup range. If you use cardiods in a taper's section, you will more likely record the people around you more clearly than the music. Omnidirectional mics are similar to cardiods, but even more directional, in that you would only want to use them when recording from stage or in front of the PA system. Even in a very small venue (where the sound is fairly directional) you would be discouraged to use Omnidirectional mics, because they would be more likely to pick up reverberations off the walls than the music, unless the mics were very close to the source. Finally, shotgun mics are best when the mics are further from the music source, because the signal to noise ratio would be decreases. As expected, these are more expensive, but quite popular in taperUs sections. (People setting up FOB in a smaller venue can often get away with using Cardiod mics). There are also figure-eight mics, where the distinguishing quality is that it can pick up left and right signals easier due to its configuration. In terms of mic placement Binaural is said to be the best way to simulate the live experience by placing mics on either side of the head, where ears are. There are many choices, all of which I do not know. In terms of numbers: It would be best to use two mics, to get a stereo feed (although many people who tape discreetly opt to use one mic, for the sake of ease). In terms of brands/prices: I hesitate to even get into this, as it is not my area, but I have found middle of the line Neumanns ($750 - $5,000) to be adequate for average taping needs. ------ 4.6.3 -- When is it considered best to make audience recordings? My biased answer to this question is: Only whenever you have to. However, there are people who see the beneficence in making audience recordings for other purposes. One example: "...Acoustic instruments (i.e: solo acoustic performances specifically) (grand pianos, acoustic guitars, standup bass, etc) are MADE to be acoustic -- their sounds are best captured by mics, not through direct SBD feeds. Since electric guitars and Rhodes pianos and Fender basses are designed for electric amplification, they sound BETTER patched straight through the board, since that's the same sound that comes through an amplifier anyway, but without all the chaos that happens between the amp speaker and out ears ... channel noise....... I've got an "official" bootleg of a David Lindlay/Hani Nasser session in Tokyo in 1994. Lindlay released it on CD... and goes into great pains to explain that the recording of the show was 'made with good mics, not a board tape', which allows for more natural reproduction of the acoustic elements (congas, guitar, voice) of the combo ... to me, an acoustic board is missing the 'roundness' of a nice six-string guitar as heard by the human ear. -- [ sh ] --------- --------------------------------------------------------------------- Some Credits -------------------------------------- i. [ kwo ] -- me, KOLIVER@UA1VM.UA.EDU ii. [ at ] -- Alex Terry -- ALEXTERRY@ROCKWEB.COM iii. [ cb ] -- Chris Buford -- CBUFORD@LIBERTY.UC.WLU.EDU iv. [ bt ] -- Ben Tanen -- BTANEN@NETSPACE.ORG v. [ he ] -- Harrington Enterprises -- EDWIN@MINDSPRING.COM vi. [ men ] -- The MindsEye Network -- FADE1@AOL.COM vii. [ sh ] -- Scot Hillman -- ONE45BLUES@AOL.COM viii.[ wf ] -- Will Foy -- WIFOY@DAVIDSON.EDU --------------------------------------------------------------------------- Original file name: tapeFAQ.text --------------------------------------------------------------------------- This page written entirely by Keith W. Oliver, except where noted. ©1995, 1996 Surf Rockweb Interactive™, and make sure to check out the AWARE records homepage. --------------------------------------------------------------------------- Keith W. Oliver koliver1@ua1vm.ua.edu koliver@rockweb.com Silicon Forest Media, Inc. and RockWeb Interactive™ --------------------------------------------------------------------------- return to the beginning of the page or to the AWARE records